Swaffam’s Grade II Listed Georgian Assembly Rooms Restored

Swaffham Assembly Rooms in Norfolk have been restored to their former glory after a £200,000 repair and restoration project. The BBC reports that the Grade II listed building was renovated with the help of funding from the High Street Heritage Action Zone, The Iceni Partnership, and Swaffham Town Council.

The building is a classic example of Georgian architecture with elegant arched doorways, large sash windows and decorative cornices. It was built in the marketplace of Norfolk in 1776. The restoration involved repairs to the roof and gutters and a coat of breathable paint.

Cllr Paul Claussen, Executive Member for Economic Development and Growth at Breckland Council, said: "The Swaffham Assembly Rooms restoration project, part of the Swaffham High Streets Heritage Action Zone project led by Breckland Council and Historic England, has helped preserve Swaffham's heritage for generations to come.”

He added: “This project is a shining example of what we can achieve by working together with our key partners, who have a shared vision and commitment to Swaffham's future."

Tony Calladine, Historic England Regional Director for the East of England, said: "It's wonderful to see Swaffham's Assembly Rooms restored to its Georgian elegance and looking resplendent as one of the town's major landmarks.”

He added: “This beautiful building has been the venue for some of the community's most memorable occasions and will continue to be at the heart of local life for years to come."

The Assembly Rooms will become an events venue and host weddings and private functions, and is also home to an indoor market every Friday. The building has a large Ballroom that can fit 100 seated and a smaller Regency room that can accommodate 60 seated.

Restoration Plans For London’s 1930s Saville Theatre

The Grade II listed Saville Theatre in London’s West End will undergo a restoration programme under plans by its new owners. The Stage reports that real estate investment firm Yoo Capital have acquired the theatre, which opened in 1931. The exterior of the building features a distinctive sculptured frieze.

The interior foyer features decorative cornices, while the bar and lounge area display large-scale murals. The theatre was once a live performance and music venue, and has hosted the Bee Gees, the Beatles, and Elton John as well as numerous plays and musicals. However it has only been used as a cinema since 1970. 

Under new plans, the venue on Shaftesbury Avenue could become the first UK home of the world-famous Cirque du Soleil entertainment group who are known for their acrobatic displays, and it will once again host live performances. There will also be new dining spaces and boutique hotel accommodation, if the planning proposals are approved. 

Eric Grilly, president of resident and affiliate show divisions at Cirque du Soleil Entertainment Group, said: "We are thrilled at the idea of joining forces with Yoo Capital and the Camden community [the borough in which the theatre sits] in rethinking the future of the Saville Theatre.”

He added: "We see a unique opportunity to bring back live entertainment to a beloved venue with fresh content and new ideas."

The Saville Theatre was bought by Brian Epstein in 1960, and thrived as a live music venue, with performances by the Rolling Stones, Chuck Berry, Pink Floyd, and many other famous acts of the era. Following Epstein’s death in 1967, the theatre reverted to its original purpose of staging plays and musicals. In 1970, it was bought by EMI and converted into a cinema.

The theatre was constructed on three levels and had a standing capacity of over 1,500. The front of the building is dominated by a large arched window frame and a 40 ft long stonework frieze that is titled ‘Drama Through the Ages’. The sculpted artwork was created by Gilbert Bayes and a section was displayed in the Royal Academy Exhibition before being installed.

Lloyd Lee, managing partner at Yoo Capital, said: "The Saville Theatre is part of the historical entertainment fabric of London’s world-famous West End.”

“From its origins as a live performance venue that saw everything from plays, musicals and live concerts by the Bee Gees, Elton John and the Beatles to its closure in 1970 and conversion to a cinema, the Saville remains an iconic venue in the heart of London.”

"Yoo Capital is thrilled to have the opportunity to restore the theatre’s original purpose as a live performance space in partnership with the world’s most reputable live performers, Cirque du Soleil, who have chosen to explore the potential for the Saville to be their first ever permanent experience in London."

The plans for an upgrade of the historic theatre are currently undergoing a public consultation and will be submitted for consideration later this year. 

Decorative Plasterwork: The Legacy Of The Victorian Era

Decorative plasterwork such as cornices, ceiling roses, and ornate fireplaces are one of the most sought after features of period homes. They have a timeless charm and elegance, which is why heritage restoration skills are very much in demand today. Here’s a look at how this treasured architectural legacy developed throughout the ages.

Ornate plasterwork has existed since the era of the Roman Empire. However, it wasn’t until the 18th and 19th century that the artform really came into its own, thanks to new techniques such as fibrous plaster. This is composed of plaster of Paris and layers of hessian fabric that is ideal for forming intricate details.  

The trend for decorative plasterwork emerged in the Regency era, coinciding with a time when architecture in the larger British towns and cities was flourishing. This was when many of the grand London townhouses were built. These homes are still highly sought after today for residential and commercial purposes.

They are characterised by generous symmetrical proportions and high ceilings. The wealthier homes were decorated with cornices and ceiling roses with Rococo designs such as leaves, shells, birds, and flowers. This trend was eventually superseded by Neo-classical designs with simpler and more restrained geometric patterns.

By the Victorian era from 1837- 1901, plasterwork in the country’s grander homes and public buildings once again became more elaborate and ornate. This reflected the emerging wealth of a Commonwealth nation that was at the forefront of the Industrial Revolution. 

The early Victorian era, up to about 1960, still retained some of the simpler elements of Neoclassicism, but also incorporated stylised nature motifs such as vine leaves and floral designs. As the era progressed, the designs became even more elaborate, drawing on the rich legacy of the Renaissance and Gothic eras. 

The Victorian era is notable for the sheer number of houses that were built, with an estimated six million residences constructed between 1801 and 1901. This rapid expansion reflected not just population growth but also a new wealthier middle class who wanted more spacious and modern homes. 

The building trade expanded rapidly with materials becoming more widely available, and wealthier clients enjoyed the luxury of being able to choose their plasterwork designs from a range of catalogues. The trades became more diversified, with master craftsmen emerging in carpentry, plasterwork, stonemasonry, and so on.

Even the more modest flat-fronted brick terraces of the Victorian era usually featured some form of decorative plasterwork such as swags, mouldings, or dado rails. Richer homeowners would enjoy large moulded ceiling panels that may have featured classical Greek motifs or flowing foliage. 

Many of these charming details have now been expertly restored in public buildings and private residences, helping us to appreciate the glories of the past in our present environment.

Generous Donation For Heritage Skills Training

The philanthropist Hamish Ogston CBE has donated £29m to boost heritage skills training in the UK. The Guardian reports that the generous funds will help new apprentices learn traditional crafts such as plastering, carpentry and stonemasonry. These skills have been dying out, putting the future of historical buildings at risk. 

Ogston is a British businessman and philanthropist who co-founded one of the first retail loyalty card companies, and has gone on to develop numerous other enterprises. In 2020, it was estimated that he was worth around £131 million. Over the past 10 years, he has donated around £10m to initiatives in health, heritage, and music. 

His latest contribution is thought to be the largest ever private donation to heritage training. It will create up to 2,700 opportunities for trainees to learn about traditional crafts that can be very different from modern techniques, ensuring that the skills are carried forward to the next generation. 

The funding will be divided between various UK heritage organisations, with English Heritage set to receive £11.2m. There are currently 5,000 buildings on the English Heritage At Risk Register due to deterioration and neglect. The apprentice scheme will aim to recruit people from some of the less privileged areas of the country. 

Robert Bargery, the heritage project director at the Hamish Ogston Foundation, said:

“There could be some very good people who need a bit of a leg-up. The point of this programme is to help them do that, actively to go out and encourage people to look at heritage skills they might not otherwise have thought about as a career.”

He added that the aim was to create an “ecosystem of heritage conservation expertise”, commenting: “With this new funding, we hope to establish such an ecosystem, so that more young people, no matter who they are or where they come from, can access the unique opportunity of a career in heritage conservation.”

One such traditional skill that is used to restore older buildings is lath and plaster. This is often found in listed buildings that must be repaired or renovated to strict guidelines in order to preserve the original character of the building. 

It’s a technique that dates back to the 18th century and involves fixing laths (strips of timber) to joists and then building up layers of plaster. The first coat, known as a pricking coat, consists of coarse lime plaster with hair or fibre mixed in for additional strength. The plaster is pushed through the laths to ensure that it stays in place. 

The next coat is known as a floating coat, and consists of medium or coarse lime plaster that may contain hair, but is not always included. The plaster is applied evenly, and then scratched to prepare it for the application of a finer top coat. This final layer does not contain hair and gives a slightly textured finish. 

Lime plaster is especially suitable for older buildings because it allows the timber frames and solid masonry to breathe. It can also be removed without damaging the masonry and can be recycled and used for further plastering projects.

How Is Decorative Plasterwork In Listed Buildings Restored?

Decorative plasterwork is an architectural feature that dates back to the days of the Roman Empire, and various techniques and styles have come in and out of fashion over the centuries.

Although the feature is often associated with stately homes, palaces, and grand old public buildings such as banks, theatres and town halls, some beautiful smaller scale examples of ceiling roses and coving can be found in period UK homes, especially those dating from the Victorian and Edwardian era. 

If you are involved in a restoration project or interested in commissioning decorative plasterwork for a building, here is some useful background information.

What materials are used for decorative plasterwork?

A range of materials can be used, including stucco, lime plaster, and clay plaster. If you want to restore plasterwork features in a listed building, you may be advised to use fibrous plaster. This is composed of plaster of Paris and layers of hessian fabric, and was used extensively in the late 19th century for ceiling roses and cornices.

Fibrous plaster could be used to mass-produce smaller intricate items and for precast elements such as panels and niches. Compared with other materials, fibrous plaster is excellent for forming detailed ornate shapes, and is light and quick to work with. 

This made it a very popular material, reaching its peak during the late 19th century when it was used extensively to decorate the numerous theatres and music halls that were built during this era. Prominent examples can still be found today in public  buildings such as the Royal Opera House and St James’ Hall in London. 

During the postwar era in Britain, the use of fibrous plaster declined as newer techniques and materials such as gypsum came into wider use. The restoration of fibrous plasterwork in historical buildings is now a highly specialised skill and should only be attempted by suitably qualified professionals. 

Plasterwork in older buildings is particularly susceptible to water damage from rising damp, leaks, erosion, or general neglect. Moisture can cause the plaster to soften and break apart, and much of the fine ornate detail is lost. 

Therefore the restoration of plasterwork should be carried out alongside other repairs or restoration work to ensure that the building is watertight and damp proof. 

How are decorative plaster features made?

Traditionally, ornate decorative plasterwork has been produced by making a full-scale model of the decorative feature and then producing a mould. Historically, these moulds were made from gelatine and animal glue, but nowadays modern materials such as silicone or fibreglass are usually used. 

For a larger and more intricate piece, several moulds may be made separately to form the whole to make the project manageable. The plasterwork is then built up in layers inside the mould. 

Once the plaster has set, it is carefully removed from the mould and stored in optimum conditions to allow it to dry out without becoming damp. The piece or multiple pieces will then be delivered for expert installation on site.

Victorian Houses To Visit For Interior Design Inspiration

The interior design styles of the Victorian era have been undergoing a revival in recent years. This has partly been a reaction to the ubiquity of the minimalist trend and strictly neutral colour schemes, and has also reflected a nostalgic mood driven by a longing for past times, sometimes referred to as ‘cottagecore.’

During the Victorian era, Britain became a wealthy and powerful nation, with huge progress in scientific and cultural life. The flourishing economy, driven by the industrial revolution, created a newly wealthy middle class who were keen to create fashionable homes. 

Mass production and distribution of goods began to occur for the first time, making it quicker and more affordable to decorate homes. Victorian architecture is characterised by well proportioned homes with high ceilings, and a generous amount of decorative detail that is still sought after today. 

Prime examples of houses from this era feature ornate cornices, architraves, and ceiling roses. They may also have picture rails, high skirting boards, tiled floors, and decorative fireplaces. Textiles were opulent and richly patterned with bold deep colours. Here are two inspirational well-preserved Victorian homes that you can visit today. 

Leighton House and Sambourne House

These neighbouring houses are open to the public in the leafy Holland Park area of West London. The interiors remain largely unchanged from their heyday in the late Victorian era, when they were the respective homes of Frederic Lord Leighton (1830-1896) and Edward Linley Sambourne (1844 -1910).

Leighton was a successful painter and the president of the Royal Academy of Arts, and Sambourne was the chief cartoonist of Punch magazine. They were both aesthetes who took pride in creating eclectic and beautiful homes that also served as their working spaces. They lived among the elite ‘Holland Park circle’, an informal collective of artists.

The most striking feature of Leighton House is the Arab Hall extension, which was built between 1977-81. Leighton was inspired by his frequent trips to Turkey and Egypt and Syria during this time, where he acquired a collection of decorative tiles and fabrics. 

The hall features a collection of tiles from Damascus regarded as one of the most important in the UK. The hall also features decorative marble columns and a gold frieze created by some of the most prominent artists and craftsmen of the day. 

Although some of the original features of the house have been lost over the years, it has undergone a major restoration programme and is now a museum space open to visitors.

Sambourne House 

The interior of Sambourne House remains very well preserved. It was inspired by the Arts and Crafts movement and contains William Morris prints and wallpapers. These feature designs influenced by nature, such as flowers, birds, and trees, in muted earthy tones of red, blue, green and brown. 

The house still contains many items of furniture and ornaments that were accumulated during the owner’s lifetime, and reflect their eclectic tastes. To some, the sheer amount of detail and furnishings may be overwhelming, but it’s certainly a fascinating and beautiful home to visit.

If you are looking for coving specialists in London, please get in touch today.

Why Do Some Listed Buildings Still Fall Into Disrepair?

Listed buildings in the UK have extra legal protections within the planning system, meaning that the owner has to apply for permission before making any alterations or renovations. To qualify as a listed building, the structure must be deemed to be of significant historical or architectural merit. 

However, sometimes buildings that have been awarded this special status fall into disrepair, as the Victorian Society has highlighted with its list of what it considers to be the top 10 most endangered sites in England and Wales. But why do certain buildings become at risk despite the extra legal protection that they are afforded?

Despite all the rules and regulations, owners of listed buildings are not legally obliged to keep them in a good state of repair. However, local authorities do have some powers to act if a designated heritage asset has deteriorated to the extent that it may be nearing a stage where it is beyond repair. 

These include the power for a local authority to carry out urgent works, which are broadly defined as emergency repairs to make the building safe from the risk of collapse, protect it from the elements, or to secure it against vandalism or theft. However in reality these powers are used sparingly, and must be approved by the Secretary of State.

Notice must be given to the owners, and work can only be carried out in an unoccupied building or in the unused part of an occupied building. The building must also be deemed to be of exceptional interest or in a conservation area where loss or damage to the building would substantially affect the character of the locality.

The costs of the repairs are recoverable from the owner of the building, and only essential works can be carried out to keep costs at a reasonable level. The local authority must take into consideration the ability of the owner to pay for the work at the outset, and the owner has the right to appeal if meeting the final costs will cause them hardship. 

A local authority also has the power to serve a repairs notice on the owner of a listed building, which are able to include non-urgent works and can also be applied to occupied buildings. The work must be ‘reasonably necessary for the proper preservation of the building.’

This wording has been subject to some legal disputes in the past, as it is open to interpretation and needs to be considered on a case by case basis. 

The repairs notice cannot be used to request the renovation of features that were already in a state of disrepair when the building was listed, unless they are necessary to the survival of the building, such as a repair to the roof. 

If no reasonable action is taken within two months of the repairs notice being served, the local authority has the power to begin compulsory purchase order proceedings. In such cases, any future purchaser will have an obligation to carry out the necessary repairs.

If you are looking for cornice restoration in London, please contact us today.

Report Warns Palace Of Westminster ‘At Risk Of Collapse’

A new report has warned that the iconic Palace of Westminster is at risk of collapsing and is in need of urgent refurbishment. The Architect’s Journal reports that the 19th century neogothic structure is in a poor state of disrepair and the delaying of renewal projects could lead to a ‘catastrophic event.’

The original Palace of Westminster, which contains the UK Houses of Parliament, burnt down in the Great Fire of 1834. A public competition was organised to design the replacement building, and it attracted 97 entries. From a final shortlist of four, the entry by Charles Barry for a Gothic revival style building was selected.

Construction of the new building began in 1840, and it wasn’t fully completed until 1870, although the House of Commons was able to sit in the new Palace from 1952 onwards. The new building was praised for balancing tradition and imagination with a functional design that was well suited to the needs of a modern parliament. 

However, 150 years later, the building is straining under the weight of multiple urgent renovation challenges. The huge and complex structure costs £1.4m per week to maintain, and is the workplace of thousands of people. It covers an area of 34 acres, and this is served by an outdated water, sewage, gas and electric system.

Furthermore, the building is considered to be at high risk of flooding, fire, and falling stones, and is also riddled with toxic asbestos. It is predicted that a full restoration programme will cost multiple billions of pounds. However, plans to vacate the building and temporarily transfer parliament to a neighbouring site were cancelled in 2020.

Now, a report published by the Commons’ Public Accounts Committee said there was a ‘real and rising risk that a catastrophic event will destroy the Palace before it is ever repaired and restored’. It also criticised the ‘years of procrastination and debate’ around implementing a comprehensive and integrated repair and restoration programme.

In response, a UK Parliament spokesperson said: ‘We are already getting on with work across the Parliamentary estate to ensure the safety of those who work and visit here, and to support the continued business of Parliament. This includes planning for the large and complex restoration of the Palace of Westminster to preserve it for future generations.’

‘Last year, members of both houses agreed a more integrated approach to restoration, prioritising safety-critical work. The Restoration and Renewal Programme Board is shortlisting options for the restoration and members in both houses are expected to vote on the way forward later this year.’

The Palace of Westminster is a unique part of Britain’s heritage, is Grade I listed and a Unesco world heritage site that houses many works of art. It’s one of a handful of buildings that is universally recognised around the world, and it draws thousands of visitors every year, boosting the economy. 

However, it is now clear that this much-loved building can no longer withstand being patched up, and is in need of urgent and significant refurbishment.

If you are looking for cornice restoration in London, please get in touch today.